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20025 - Spem in Alium
Thomas Tallis (1505-1585))
edited for 40 part brass ensemble by Roger Harvey
Difficulty: Medium
Price: £35.00
Programme note:
There is some doubt about the origins of this extraordianry 40-part polyphonic work. The first known performance was in 1610 for a banquet given by Prince Henry. But there is evidence that it was written for a ceromony of peniternce by the Ridolfi plotters who were planning to assassinate Queen Elizabeth I and install the Catholic Mary Stuart on the throne.
Striggio's earlier 40-part Mass has been cited as the inspiration but this is unlikely as Tallis would have been well-versed in the Italian polychoral style.
The highly textured piece contains a good deal of numerical and textual symbolism. For example, the number of paired bars, as they were originally numbered, is 69 - Tallis' name number given by the 24-letter Roman alphabet. 40, the number of parts, is also the mumber for Mary (the virgin and Stuart). However, knowledge of these hidden messages is unneccessary to appreciate the magnificent soundscape created by the flow of the music from space to space.
Performance note:
The 8 choirs should be placed antiphonally, preferably in a circular pattern surrounding the audience space if possible. This will allow the passage of music from choir to choir to be appreciated and also will offer the North/South, East/West interplay to be experienced.
The score is laid out with trumpet and trombone parts in C and horn parts in F. The horn parts could easily be played by alto trombones if desired. Parts in alto clef are provided for this option.
The 2nd trumpet parts are generally in a low register; the players should aim for as open a sound as possible.
All dynamic and expression marks are editorial and should be considered as suggestions only. They give a reference for performance style if rehearsal time is limited but may be altered at the discretion of the performers.
As the ryhthm and phrase patterns are decided by the original text there are many places where the parts may seem rather disjointed from an instrumental point of view. See for example bars 104-108. The players will need to shape these phrases in as musical manner as possible, being aware of the vocal derivation of these phrases.
Articulation marks and hairpins are to suggest phrasing and should not be interpreted too rigourously. The marks are intended to convey the following:
. light articulation, slightly short
- emphasis, proceded by slight cresc and followed by slight dim
> clearly articulated but not heavy
, end of a phrase
The style of this music and the instrumental layout will give a strong possibilty of players losing their place. Some cues are in the parts but, depending on the positioning of the choirs it is reccommended that the players insert useful reference points for themselves as necessary. Frequent rehearsal numbers give the opportunity for a director to indicate regular signposts.
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